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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 43 of 118

Isolating Colors Using Hue/Saturation Adjustment

Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

43. Isolating Colors Using Hue/Saturation Adjustment

Lessons

  Class Trailer
Now Playing
2 Bridge vs. Lightroom Duration:06:39
3 Tour of Photoshop Interface Duration:18:21
4 Overview of Bridge Workspace Duration:07:42
9 Developing Raw Images Duration:30:33
11 How to Save Images Duration:03:37
12 Using the Transform Tool Duration:04:48
14 Selection Tools Duration:05:55
15 Combining Selection Tools Duration:07:37
17 Quick Mask Mode Duration:05:07
18 Select Menu Essentials Duration:21:28
20 Align Active Layers Duration:07:29
21 Creating a New Layer Duration:06:15
22 Creating a Clipping Mask Duration:03:02
23 Using Effects on Layers Duration:11:24
24 Using Adjustment Layers Duration:16:44
25 Using the Shape Tool Duration:04:39
30 Adding Texture to Images Duration:09:11
35 Understanding Curves Duration:06:18
36 Editing an Image Using Curves Duration:18:41
39 Editing with Blending Modes Duration:08:04
40 Color Theory Duration:05:59
41 Curves for Color Duration:16:52
42 Hue and Saturation Adjustments Duration:08:59
44 Match Colors Using Numbers Duration:16:59
45 Adjusting Skin Tones Duration:05:25
52 Clone Between Documents Duration:13:19
53 Crop Tool Duration:10:07
54 Frame Tool Duration:02:59
56 Paint Brush Tools Duration:13:33
57 History Brush Tool Duration:06:27
58 Eraser and Gradient Tools Duration:03:06
60 Blur and Shape Tools Duration:11:06
61 Dissolve Mode Duration:09:24
62 Multiply Mode Duration:15:29
63 Screen Mode Duration:14:08
64 Hard Light Mode Duration:14:54
66 Smart Filters Duration:11:32
67 High Pass Filter Duration:13:40
68 Blur Filter Duration:05:59
69 Filter Gallery Duration:07:42
70 Adaptive Wide Angle Filter Duration:04:43
71 Combing Filters and Features Duration:04:45
72 Select and Mask Duration:20:04
73 Manually Select and Mask Duration:08:08
74 Creating a Clean Background Duration:21:19
75 Changing the Background Duration:13:34
76 Smart Object Overview Duration:08:37
77 Nested Smart Objects Duration:09:55
78 Scale and Warp Smart Objects Duration:09:08
79 Replace Contents Duration:06:55
80 Raw Smart Objects Duration:10:20
83 Panoramas Duration:13:15
84 HDR Duration:11:20
85 Focus Stacking Duration:04:02
86 Time-lapse Duration:11:18
87 Light Painting Composite Duration:08:05
88 Remove Moire Patterns Duration:06:11
89 Remove Similar Objects At Once Duration:09:52
91 Replace a Repeating Pattern Duration:06:50
95 Warping Duration:11:03
96 Liquify Duration:14:02
97 Puppet Warp Duration:12:52
98 Displacement Map Duration:10:36
99 Polar Coordinates Duration:07:19
100 Organize Your Layers Duration:11:02
101 Layer Styles: Bevel and Emboss Duration:02:59
102 Layer Style: Knockout Deep Duration:12:34
103 Blending Options: Blend if Duration:13:18
105 Layer Comps Duration:08:30
106 Black-Only Shadows Duration:06:07
109 Create an Antique Color Action Duration:13:52
110 Create a Contour Map Action Duration:10:20
111 Faux Sunset Action Duration:07:20
112 Photo Credit Action Duration:05:54
113 Create Sharable Actions Duration:07:31
117 Scratch Disk Is Full Duration:06:02
118 Preview Thumbnail Duration:02:10

Lesson Info

Isolating Colors Using Hue/Saturation Adjustment

So let's take a look at how we can change some images using hue and saturation. Here we have fall color starting. You see, we have some green leaves that have some red mixed in. What if I wanted this to be a picture that had no red in the leaves? Instead, I want the entirety of all leaves to be green. Well, with hue and saturation, that might not be too difficult. I'm gonna come in here and do a hue and saturation adjustment layer. I just need to double check that the hand tool has turned on. Remember, if yours isn't to come up here and turn it on automatically with that, that way, every time it will be turned on, I'm gonna come up here and click on something that should be read in my image to isolate the Reds. And then if I drag right now, that's gonna affect saturation. I want to affect Hugh Hughes basic color. And for that I hold on the command key control on windows, and I click right on that red leaf and I drag left or right, depending, Um, what color I want. And now I can get all...

those formerly red areas to be green. Once I get him to be green, though, to me it looks like to intensive a green. So I'm gonna bring the saturation a little lower to see if I get it to more, blend in with the other colors there, there and if need be, I couldn't make a brighter or darker that needs that to blend in as well. If I turn off the eyeball at the bottom of this adjustment area, then you can see before and after. I'll throw away that adjustment and let's look at a different scenario. What if, instead, I want all the green portions of the leaves to be yellow or orange so it looks more like an intense fall. So we have the red tips that are there, but the middle portion, instead of being green, will be yellow or orange. Well, let's go here to hue and saturation. Make sure the hand tools turned on. Come out here and click within the green area. That's going to change the menu up here. You might not find it changing to greens because oftentimes things you think of is being green, a really dark yellow Most people aren't used to thinking about dark yellow, but it might be. Then I'm gonna adjust the hue. Now, when you adjust the hue, you don't have to totally guess at what direction to move it. If you look at this, you it's always gonna be starting in the middle, always pointing at Scion. You can ignore the fact that is pointing at Siam instead. Look at the bar and find the color you're about to change. I'm about to change the greens, so I find the greens in here. Then look at the color you want to end up with in the same bar. And just ask yourself, what direction? If you started with green, would you need to travel in to make your shortest distance to that color? Well, it looks to me if I want to make this yellowish orange, I'd have to move from green towards the left, and it tells you approximately how far, too. If this is where green is and this is where yellow oranges. That's exactly how far I'd have to move the slider. It's just that it starts out pointing here in the middle. I'm still just gonna move it right over like that. And even though it's pointed green, that doesn't mean anything. It means How far did I move it from where it started in what direction? Then, if you were to think about it as if you started at green and move the same direction the same amount. That's what you're ending up with. But just look at your picture. You'll see it changing. So there I could get him all to be reds. But I want a kind of variation on what kind of an orangish. Once I get it into that kind of orangish color, it's not bright enough. So let's bring up the lightness and then they're not vivid enough. So let's bring up the saturation. And then I confined tune everything. But now I think it's starting to feel like more of an intensely fall colored time. I find, though the reds look a little too colorful. Well, after you've adjusted one color in here, you don't have to use separate human saturation adjustments. If you change this menu to a different color like reds, then you can adjust more than one color. You can adjust up to six colors in one adjustment So now I can take the Reds and say I want them to be less colorful. Bring that down a little. Maybe. I say I want them to be a little more orange ish, whatever you like. So I have this image printed in a tread above the doorway that leads to my kitchen. And we have, Ah, modern home. The doors in our house are actually painted. This kind of darkish will not dark a vivid darkish orange orangish red color in with this, right above the entrance to our kitchen. I wanted that background that's there to match the color of our doors because you could see him in the same view, then insider kitchen. Our kitchen is a little different. We have some green cabinets and I wanted the color of the bicycle to match the green cabinets that are inside the kitchen. Therefore, when you're about to walk into the kitchen, you see this sign right above the door, and it looks like it matches everything as if it was created for it. In reality, this is a literal sign, that is, and I think Kabo in Mexico, and, uh, I took a photograph of it I just happen to use it above my kitchen. So let's see, How can I find Tune this? I'm gonna come in here and do hue and saturation. The little hand tool is active, so I'll click on the red background. Then, if I need the red to be a little bit more orangish red. I look at this bar and I find Red to begin with. It's here and there, and I say, Where's orange? In what direction would have to travel into get toe orange in the shortest distance possible while here's a red in orange would be going to the right just a little bit. So that means I want to take the huge slider and move it to the right just a little bit. And so I confined tune that read. But when I do, it doesn't seem like the entirety of what's in there is changing. This area in here doesn't seem to be changing. It could be that if you look at it, you see these bars well. Part of the wall might be this color, but part of it might be over in here. Just be a darker shade of that. Well, you can actually grab these things, move it like this or grab its edges and move it like this to say I want to work on a wider range. The little outer bars means let's fade into these colors. So what you get is everything that's above the middle bar gets the full force of the adjustment you're asking for. Anything is above the dark bars on the end. That's where it fades out. So starting with this color, it starts applying less and less and less until it gets too right here. Same with on this side, less and less and less and talk is to there. So if I could get that to spread out to include those other colors, I can usually get it to work. Fine. But there is a way to be more precise with ease if I could move around like this and really control it now, first off, they only show up after color has been chosen either from this menu or by clicking with hand on your picture. If this is set to master, those don't show up. That's the thing most people forget. They expect those to be there right away, so either have the hand tool active and click on your picture or shoes from the pop up menu, and they'll be there now. Let's learn how to be more precise with them, how to more precisely isolated color. And here's how you can do it. Grab one of the outer sliders and push it in towards the others until they all slam together so there is tightly packed together as they could possibly be. Therefore, you can isolate the narrowest range of colors possible. Once you've done that, this is no longer going to be above or below the color you're wanting. It's no longer above the reds. Don't worry about that. Just get Thies to slam together and remember to get him to show up. You need to have this set to something other than master. Doesn't matter what you chose, but that's what gets the used to show up. Once you have them slammed together, then these three eye droppers are going to be your buddies. Grab the one on the far left and watch what happens when I click within my picture. I'll click here. Do you see how they just jumped to that color? Or if you see a color in here that looks kind of yellowish green. If I click there, you see how it jumped over, jumped over. It jumps to whatever color you click on. But that's a really narrow range of colors, and I doubt that picks up the variation and color we have in this wall. We can find out, though, by making a radical change to the picture. What I usually do generically is I bring the saturation all the way down, which should turn your image black of white, whatever doesn't turn black and white. You have an isolated yet well, instead of manually splitting those sliders apart to increase the range, I can instead come in here and use the plus eyedropper. When I use the plus, I drop her. If I click on an area like down in here, it will find it in here. In it'll spread apart those inner little bars so they're wider include that color. So I just clicked in its spread it apart and click again. I could even drag to say, Look at all these colors and come up here, click in. Therefore, I'm spreading that out, trying to get it to isolate the full range of colors that I'm attempting to change. And once you do, you probably want to come in here and just pull out these ends a little bit. So it fades into the surroundings. Otherwise, you can get some abrupt edges that don't look natural. So I'll probably put out at least that far. Now I brought saturation all the way down just because it would be easy to see if it was a colorful image. And I'm gonna then bring saturation back up to where it was by taping a zero in for the number for saturation. And now I can move the hue around to choose the basic color. And if I wanted to get that to match my doors, I might need to go a little bit towards the right. It might need to go a little bit less colorful, maybe a little bit brighter. Fine tune all these, but whatever it is, I could most likely get it to match my door. Then I want to get the kind of scion colored bicycle to instead be green because I have green cabinets in my kitchen. I wanted to match, so I'm gonna change the menu up here to anything I have not already adjusted. It doesn't have to be Science doesn't matter. So I haven't adjusted the greens he had. I'll just choose that and then I'm gonna go through the same process. I'm going to slam those sliders together and then grab the eyedropper. I'm going to click on the color of the bicycle so that centers it on that color, and it's kind of weird. Check it out. That color, perhaps all the way around the edges could remember. This is like a color wheel in the ends of the same color. You could even come in here if you want to get funky. If I could remember, if you hold on the command key, you can spin this, so if it's ever on the ends, you can move it. You don't have to know that, but command dragging on this control dragging and windows would do that. I'm gonna again bring my saturation all the way down just to see how much becomes black and white. And it's not much. So I grabbed the eyedropper with the plus sign on it, and I click on any part of the bicycle that does not look black and white. Anything that still has a hint of blue ish scion in it starting to look black and white. I think so. Then I'll bring saturation back up to the middle by selecting this number and typing in zero. Then I want green, So I'm gonna move the hue over until I find a green. Ah, I wanted to be a little darker green, so I bring that down and then I just how colorful it is. So now I could get that bicycle to be green instead of blue. Ah, if the color that's within these wheels is different than what I've already adjusted, I could also work on it. Choose again. One of these I haven't worked with yet. I don't think I work with blues yet. Then I might not need to slam these together. That's only if I need to be accurate. I could just grab the eyedropper and click there. Hopefully, that's enough. It's not gonna be enough. How can I tell? Because reds included in the fade out and we have read in the picture so it's slam most together, then bring saturation down. I dropped with the plus sign on it. See if I can isolate it. Looks like it's same colors. What's up here? Which is good, cause I want that to be less colorful, too there and then bring saturation back to the middle again. And I actually wanted it less colorful, just probably not black and white, maybe about there. So you get the idea that you can isolate colors using human saturation and then shift them around. You could make a red car blew. With this technique, you could make a blue shirt green, so I think of hue and saturation for color manipulation. A supposed to color correction takes a little practice, so go through that a few times to try to get the sense for it.

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly

ABOUT BEN’S CLASS:

Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

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